"J. C. Superstar" rocks/shocks CLO-SBC audiences

--- Theatre review

In a theatrical attempt to tell the story of the last days of Christ, Tim Rice and Andrew Lloyd Webber – who wrote the lyrics and music to the popular "Jesus Christ, Superstar" nearly forty years ago – failed to tell the Truth. Obviously neither read The Book – the original one – very carefully, but simply wrote/composed a stylized heavy rock opera for a free-spirited 1970´s audience.

That´s not to say that the Civic Light Opera of South Bay Cities in Redondo Beach did not do an excellent job presenting the material. Their production values are always high, their actors are talented, and their musicians are the best.

Interestingly, director Stephanie A. Coltrin updated the stage for this production with metal grid structures that have an abstract industrial look and dressed the performers in colorful casual costumes that she calls "modern beatnik." Both of these changes serve (thankfully) to distance the show further from the Biblical story.

The majority of people who see this production of "Jesus Christ, Superstar" will go away thrilled and awed. This review will help those who have never seen the show and are perhaps hesitant for religious reasons.

The story is told from the point of view of Judas. He is presented as having a higher moral standard than Jesus, who is portrayed as "just a man." In Superstar, Jesus´ relationship with the ex-prostitute Mary Magdalene is more lust than love; he seems powerless to heal the multitudes who entreat him; he needs to be physically restrained from an enraged attack on Judas when he´s revealed as the traitor; his death is a questionable sacrifice at best; and his resurrection is overlooked entirely in favor of Judas´s own return.

While Mary Magdalene´s voice (Karole Foreman) is outstanding, those of Judas (Josh Tower) and Jesus (Eric Kunze) are strangely interchangeable, requiring close attention to determine who actually is singing. The exceptions are those times when Kunze´s tenor voice escalates up through the high soprano range to a decibel and tone that resembles nothing more than a woman´s piercing scream. This remarkable feat must have impressed some, however, if the applause that followed is any indication…unless the audience was simply relieved that it stopped.

Brightly staged and reasonably factual is Jesus´ triumphal entry into Jerusalem where crowds in gaily colored costumes, wave palm branches and dance beneath a psychedelic rainbow of lights, chanting "Hosanna, Heysanna…Hey Superstar!" while jealous priests in the background plot a "permanent solution" for the carpenter King.

But the sensual interaction between Jesus and Mary that follows is anything but accurate and will certainly grate against those with religious values. The ointment she rubs on his brow as she presses his face to her breast has nothing to do with worship, and her words of peace and relaxation are as hypnotic and soothing as a mind-altering drug.

In "Superstar," Jesus is seen as a tragic victim (instead of the obedient, victorious Son), forced into a tortuous death that "was not his own idea" by a God of questionable omniscience. His prayer in Gethsemane is nothing more than a petulant plea to know the reason (and the reward) for his pain and suffering.

Satisfying, at least, is Judas´s remorse, confession before Caiaphas, and gruesome suicidal hanging that follows his kiss of betrayal. For artistic impact, his body is left swinging while the ensemble repeats "So long, Judas, Poor old Judas."

Jesus´ trial before the Darth Vader-like Caiaphas (Jody Ashworth, whose deep voice resembles thunder…or is that the amplification?) and the other priests suitably dressed as hell´s minions in long black leather robes, is chilling, especially when they incite the wraith-like spectators to demand crucifixion.

The scenes when the battered Jesus appears before Pilate (Kevin Bailey), who finds nothing in the "King of the Jews" worthy of death and yet calls for a punitive scourging and later crucifixion, are accurate and sobering. It´s not the vicious whipping by his soldiers that impresses however, but the dictator´s relentless, merciless counting out of the 39 stokes as he paces unfaltering from wing to wing on the broad proscenium stage.

The mock trial before the fat and depraved king Herod (Harrison White) and his court of boy toys and sex slaves is disgusting and offensive. However, many will appreciate the scene for its dark humor and overt sexuality.

Having symbolically washed his hands from Jesus´ blood, Pilate delivers his "misguided martyr" to a steel-grid cross. Later, in a gasping whisper, the dying Jesus commends His spirit to the Father. In an admittedly brilliant piece of stagecraft, Jesus then ascends directly from the cross into Heaven. Only by reading the program do we know that the accompanying orchestral finale represents the words of John 19:41.

But where is the tomb in this story? Where is the resurrection? Surely that would have made an impressive and dramatic scene. Why tell the story of Jesus Christ, if His supernatural rising from the dead is omitted?

Did I just imagine that the audience exited the building in a faster than normal manner? Were they trying to avoid heavy traffic congestion on the drive home, or could they have been expecting a lightning bolt to strike?

Performances run Tuesdays – Saturdays at 8 pm, with Saturday and Sunday matinees at 2 pm through May 10. Ticket prices range from $45-$60.

For more information and ticket availability call the Civic Light Opera Box Office (310) 372-4477 or visit www.civiclightopera.com

The Performing Arts Center is located at the corner of Aviation Blvd and Manhattan Beach Blvd in Redondo Beach, CA 90278.